বৃহস্পতিবার, ২২ ফেব্রুয়ারী, ২০১৮

Liliane Lijn





moonmeme (1992-ongoing)




S/HE. 2014




The Beginning. 1959




Mind Home (Neurographs). 1971




Essential Forest, 2011




Way Out is Way In, 2009



Clear Light Koan




S/HE 2014




S/HE 2014




S/HE 2014




S/HE 2014





moonmeme (1992-ongoing)




Liliane Lijn

Liliane Lijn’s work covers a large spectrum of interests, from Light and its interaction with diverse new materials to the development of a fresh image for the feminine. Lijn has taken inspiration from incidental details both man-made and natural, mythology and poetry, science and technology. Lijn is interested in the development of language, collaborating across disciplines and making art that is interactive, in which the viewer can actively participate.





Time Forces Split





moonmeme (1992-ongoing)
Liliane Lijn’s real-time computer simulation is a work that demonstrates the interlocking of opposites, Lijn writes the single word SHE across the moon in letters large enough to be seen from earth. Over the course of the lunar monthly cycle, the movements of moon, earth and sun reveal that HE is contained within SHE and SHE emerges from HE.

The Beginning. 1959
Lijn thinks of this drawing as an archetype of her work. In it she created a cosmic map of her own beginning. All the possible creations of Lijn’s unconscious whirling around and separating out from a fiery and as yet condensed central core.

“In 1969 Sinclair visited me in London and showed me Deliria, the notebook he had written while in David Cooper’s psychiatric clinic. In response, I showed him the most recent collages I had made with electronic symbols and he asked me whether I might illustrate Deliria. I agreed, since I thought I could create poignant metaphors for mental disturbances using electronic symbols, relating electrons to neurons. I though of the brain as an electro-chemical system, a kind of organic machine. I found that using these delicate symbols, code for control and use of the flow of electrical energy, opened up a whole imaginative field for me. I called them Neurographs.” (in Visualise: Making Art In Context, 2013)

The 3-meter column is made from used industrial drums that are programmed to rotate at steadily increasing speeds until the words, a tracery of drilled holes, blur into vibrating pulses of light. 

Poemdrums are related to Lijn’s early work with text, Poem Machines (1962). Like the Poem Machines, they spin, disengaging words from the composed text. 

Koan is a Japanese word for a paradoxical riddle given to young Buddhist monks as aids for meditation. Koans are a continuous theme in Lijn’s work. The apparently solid cone is layered with emptiness. What appears empty is, in fact, solid, whereas the apparently solid white cone is an empty shell.

A linguistic intertwining of gender in nine languages.


























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